Photo : © @Mange-cretons
slime we are, and to slime we shall return
matricial slime primordial compost
dripping breasts
this slime holds together humans and aliens alike
You exit the ship. The technoslime priestesses are there, in the slime garden. They guide you in a procession through the trees. You must carry the fresh slime to the temple to witness the rebirth of the great goddess Composta. If the ritual is successful, divine lactation will occur; the cycle will be complete. But who will nurse from the divine nipple?
LACTANGLU is an immersive outdoor experience, featuring live performance, technodummy scenography, and several gallons of homemade slime. Playing with the codes of science fiction, the artists have constructed a parallel world in woods, sketching out new narratives about spirituality, ecology, and connection with the more-than-human.
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This event will take place at a secret location, which will be revealed to ticket holders via email 48 hours in advance.

Laurence Lallier-Roussin and Audrée Lewka are two metamours based in Est-du-Québec. Since 2023, their collaborative work takes the form of happenings in nature, experimental short films, and multidisciplinary performances. For them, in situ art brings out new layers of meaning to a place, like layers on a cake. Their work draws from ecosexuality and kink, and is inspired by cheap art, an art form accessible to all, marked by the spirit of clowning and a DIY aesthetic. The duo’s recent works include the in situ show La pointe mouillée (FURIES 2025) and the short film egg in the hole (Lust*streifen Film Festival 2025; Filministes 2026).
Photo : Laurence Lallier-Roussin © @Mange-cretons. Audrée Lewka © Courtoisie de l’artiste
Creation, Production and Performance: Laurence Lallier-Roussin and Audrée Lewka
Promenade and Interactivity Consultant: Priscilla Guy
Installation and Visual Arts Consultant: Karine Ouellet
Movement Consultant: Soma Palato
Creation Residencies: Salon58, Théâtre du Bic, Parc Nature de la Pointe-aux-Outardes, La Charpente des Fauves
This project received financial support from the Conseil des arts et des lettres du Québec.